The Great White Hand; Or, the Tiger of Cawnpore: A story of the Indian MutinyMuddock, J. E. (Joyce Emmerson)
History
The Great White Hand; Or, the Tiger of Cawnpore: A story of the Indian Mutiny
Muddock, J. E. (Joyce Emmerson)
Anglo-Indian fiction; India -- History -- Sepoy Rebellion, 1857-1858 -- Fiction; Kanpur (India) -- Fiction
Perhaps his mental ears did catch the sounds of the coming conqueror’s
drums, and the roar of his guns; and his mental eyes see regiments of
unconquerable British soldiers, exacting a terrible vengeance, and
he himself, forsaken by his people, driven forth, a beggar outcast,
wandering on and on, through trackless jungles, without a pillow
for his head or roof to shelter him, and on his forehead a brand
more terrible than that which ever branded the brow of Cain--flying
forever from his pursuers; a guilty, conscience-stricken, blackened
and despised wretch--too abject a coward to die, and yet suffering the
agonies of a living death.
Whatever of these things he might have dreamed, he gave no utterance
to his thoughts, but galloped on to his Palace, and issued orders that
that night should be a night of revel.
CHAPTER XXVI.
THE SWORD OF DAMOCLES SWINGS.
The day following the slaughter at the Ghaut was a great day for Nana
Sahib, for he was to be publicly proclaimed Peishwah, and his power in
that part of the country was to be acknowledged supreme. The dream of
years was fulfilled at last. He stood at the foot of the throne; he
had but to mount the steps, and men would bow down before him as their
ruler. Power, greatness, wealth--all were in his grasp. His foe lay
crushed in the dust--his ambition and revenge were gratified; and in
the pomp and glitter of the gorgeous pageant of that day, the voice of
conscience was perhaps for a time stilled.
And truly the pageant was a gorgeous one--a spectacle that even, in
their wildest imaginings, the authors of the “Arabian Nights” could not
have dreamed of. Scarcely had the sun fully risen before the Palace at
Bhitoor was in a state of commotion. All night long, thousands of hands
had been at work preparing for the great show, and nothing was wanting
to render it complete.
At a given signal the procession, which was to march through the town,
and some of the outlying villages, commenced to form. First came five
hundred stalwart natives, walking six abreast. On their heads were
turbans of cloth of gold, and on their breasts were glittering vests of
steel. Every man carried on his shoulder a drawn sabre, that flashed
in the sun’s rays. The front row carried the Nana’s standard, which
was trimmed with real and massive gold fringe. These men were followed
by five hundred boys, dressed in white muslin. Each boy carried a pair
of silver-plated cymbals, and the very air was rent with the clashing.
Then came a body of singers, singing a song of triumph, each singer
being dressed in a costly robe. They were followed by two hundred
camels, their necks hung with silver bells, while their trappings
were cloth of gold. On the back of each camel sat a boy dressed in
raiment of pure white, and carrying in his hands a small disc of highly
polished steel, which was turned so as to catch the sun’s rays and
throw the light far ahead--on tree, and road, and building. This was to
symbolise the Nana’s power.
Public-domain text, read in full here on John Shaqi.
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